| The following forms of Urdu poetry are
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| | style of writing was Maulana Altaf Husain
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| known, some more popular than others:fard
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| | Hali.naat
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| Gazalhamdhazalhijvmadahmanqabatmarsiiyam
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| | A poem written in praise of the holy
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| snaviimunaajaatmusaddasnaatnazmqasiidaaqa
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| | Prophet.nazm
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| taaqavaalliirubaayiisalaamsehraavaasoKhtf
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| | In a broad sense, nazm is a term used to
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| ard
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| | define all kinds of Urdu poetry which do
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| A composition consisting of only one
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| | not fall into any other category.
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| sher.
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| | However, in a literary sense, a nazm is a
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| Gazal (pronounced ?guzzle?)
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| | well organized, logically evolving poem
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| Ghazal is a collection of couplets (shers
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| | where each individual verse serves the
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| or ashaar) which follow the rules of
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| | need of the central concept or theme of
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| 'matla', 'maqta', 'bahar', 'qafiya' and
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| | the poem. Though a nazm is traditionally
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| 'radeef'. The couplets are complete in
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| | written in rhymed verse, there are many
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| themselves. All the couplets of a ghazal
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| | examples of nazms written in unrhymed
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| must be of the same bahar, end in the
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| | verse, or even in free verse.qasiidaa
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| same words (radeef) and have the same
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| | (pronounced ?quh-see-daa?)
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| rhyming pattern (qaafiyaa). Every ghazal
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| | A panygeric, or poem written in praise of
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| MUST have a matla. A ghazal may or may
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| | a king or a nobleman, or a benefactor. As
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| not have a maqta but if it does, it has
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| | in a ghazal, the opening couplet of a
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| to be the last sher of the ghazal.
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| | qasida, is a rhyming couplet, and its
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| Ghazals which do not have a radeef are
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| | rhyme is repeated in the second line of
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| called Gair-muraddaf ghazals. In such
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| | each succeeding verse. The opening part
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| cases, the rule of qafiya is strictly
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| | of the qasida, where the poet may talk in
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| followed. These type of ghazals are very
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| | general about love and beauty, man or
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| rare. Ghazals with the same radeef are
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| | nature, life or death, is called the
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| called ham-radeef ghazals.hamd
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| | 'tashbib' or 'tamheed'.
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| Poem written in praise of God.hazal
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| | Interestingly, the ghazal has evolved
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| Humourous poetry, also known as
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| | from the qasida. Over time, the tashbib
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| 'mazaahiyaa' or 'mazaakiyaa' shaayari.
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| | got detached and developed into what we
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| Some examples of humourous Urdu poetry
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| | today know as Gazal. A qasida is usually
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| can be viewed here.hijv
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| | quite long, sometimes running into mor
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| A satirical poem written to condemn or
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| | than a 100 couplets. A Gazal is seldom
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| abuse a person. This type of poetry is
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| | more than 12 couplets long, averaging
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| considered inferior and generally avoided
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| | about 7 couplets.qataa
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| by reputed poets. The opposite of a hijv
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| | A poem consisting of four lines, in the
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| is a madah which is written in praise of
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| | form of two shers. However, unlike shers
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| patrons.madah
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| | in a ghazal, the subject of the two shers
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| Poem written in praise of royalty,
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| | is the same. It is believed that the
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| patrons, etc.manqabat
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| | qataa was invented for occasions when
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| A poem written in praise of members of
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| | poets felt that they were unable to
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| the family of the holy Prophet.marsiiyaa
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| | express their thoughts completely and
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| (muhr-see-yaa)
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| | satisfactorily in a single sher.qavaalii
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| An elegy written to mourn the death of a
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| | Traditionally a devotional song
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| great man or a dearly loved person. In
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| | expressing love and oneness with God sung
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| its stricter sense, traditionally
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| | by a group of people to the accompaniment
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| accepted in Urdu, a marsiya is an elegy
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| | of musical instruments. Nowadays,
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| written specifically in honour of the
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| | qawaallis cover popular topics like love
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| martyrdom of Hazrat Imam Husain and his
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| | and wine.rubaayii(pronounced ?ru-baa-ee?)
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| comrades at Karbala. It describes the
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| | A self-sufficient quartrain, rhyming (a,
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| battle fought on the plains of Karbala by
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| | a, b, a) and dealing generally with a
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| Hazrat Imam Husain against the army of
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| | single idea, which is customarily
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| Yazid. The most well known writers of
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| | introduced and developed with the aid of
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| Marsiya in Urdu are Mir baber Ali Anees
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| | similes in the first three lines, and
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| and Salamat Ali Dabir. Sub-parts of the
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| | concluded, with concentrated effort and
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| marsiya are called Nauha and
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| | impact, in the fourth line.The most well
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| Soz.masnavii(pronounced ?mus-na-vee?)
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| | known rubaayis in Persian were written by
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| A long narrative poem - much longer than
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| | Omar Khayyam. In Urdu, some of the most
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| the ghazal - embodying religious,
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| | well known practitioners of this form
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| romantic or didatic stories. It is
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| | were Firaq, Josh and Yagna Yaas
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| written in rhyming couplets, with each
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| | Changezi.salaam
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| couplet having a different rhyme and
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| | A salutory poem written in praise of the
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| radeef. The most famous masnavis are
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| | holy Prophet. It can also be a poem
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| Masnavi-e-Rumi in Persian, Shah Namah of
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| | describing the incidents of Karbala. It
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| Firdausi, and Zehar-e-Ishq in
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| | is recited standing up.sehraa
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| Urdu.munaajaat
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| | A song sung at the time of tying the
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| A lyrical poem written as a prayer to
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| | seharaa during the wedding ceremony. It
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| God.musaddas
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| | is usually in praise of the bride/groom
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| A poem in which each unit consists of 6
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| | and their relatives.
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| lines. The most well known poet of this
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